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Home , Arthur Somervell, Bristol Cathedral, English art song, Ivor Gurney

The English Poetry and Society

presents Shropshire Lads to the poems of A. E. Housman by , Benjamin Burrows, and

together with the five best songs from the EPSS composers' competition performed by Stephen Foulkes (baritone) David Bednall (piano)

Recorded ‘live’ at a concert in the Art Gallery of the Holburne Museum, Sydney Gardens, Bath, on Friday, June 2nd, 2006 to mark the 110th Anniversary of the publication of (1896) The titles of the poems are given in italics; for untitled poems their first lines are given in 'normal' print. Key: ASL = A Shropshire Lad (1896); LP = Last Poems (1922); MP = More Poems & AP = Additional Poems (1936) This is a live concert recording but applause has been edited out for better enjoyment

X Benjamin Burrows (1891-1966) 1 Grenadier LP V 1:26 2 The half-moon LP XXVI 1:11 3 The sigh LP XXVII 1:17 4 From far ASL XXXII 1:39 X Arnold Bax (1883-1953) 5 Far in a western brookland ASL LII 3:29 6 In the morning LP XXIII 2:22 7 When I was one-and-twenty ASL XIII 3:03 X Five best songs from the EP&SS composers' competition 2006 8 Brian Daubney (b.1929) The land of lost content (5th) ASL LIV & ASL XL 3:30 9 Margaret Wegener (b.1920) Look not in my eyes (4th) ASL XV 3:19 10 Clive Pollard (b.1959) Because I liked you better (3rd) MP XXXI 2:16 11 Calvin Bowman (b.1972) R.LS. (2nd) AP XXII 1:31 12 Stephen Duro (b.1939) Is my team ploughing? (1st) ASL XXVII 5:05 X Ernest John Moeran (1895-1950) 13 When smoke stood up ASL VII 3:36 14 When I came last to Ludlow ASL LVIII 1:01 15 Far in a western brookland ASL LII 2:27 X Arthur Somervell (1863-1937): A Shropshire Lad (1904) 16 i. Loveliest of trees ASL II 1:54 17 ii. When I was one-and-twenty ASL XIII 0:59 18 iii. There pass the careless people ASL XIV 1:14 19 iv. In summertime on Bredon ASL XXI 2:49 20 v. The street sounds to the soldier's tread ASL XXII 2:03 21 vi. On the idle hill of summer ASL XXXV 2:00 22 vii.White in the moon the long road lies ASL XXXVI 2:28 23 viii.Think no more, lad ASL XLIX 1:41 24 ix. Into my heart an air that kills ASL XL 1:35 25 x. The lads in their hundreds ASL XXIII 2:22 total duration 56:17 Profiles

The poet

Alfred Edward Housman (26.03.1859 - 30.04.1936) was an English poet and classical scholar probably best known for his cycle of poems A Shropshire Lad. During his education he acquired a strong academic grounding and won prizes for his poetry. At St. John's College, Oxford, he studied classics. Even then, he was a withdrawn person. In 1892, as a result of his further classical studies he was offered, and accepted, the professorship of Latin at University College, London. His reputation grew as a result of his energetic study of the Latin classics and, in 1911, he took the Kennedy Professorship of Latin at Trinity College, Cambridge, staying there for his remaining years. His students regarded him as a severe, reticent, remote authority. For Housman, poetry was a secondary activity after classical studies. Being reticent, the first time he spoke about his poems in public was in 1933 when he gave a lecture entitled “The Name and Nature of Poetry”. In his opinion, poetry should appeal to emotions rather than intellect.

There is a Society devoted to the poet – details at http://www.housman-society.co.uk The Penguin Poetry Library publishes A. E. Housman: Collected Poems.

The composers Benjamin Burrows was a music teacher in Leicester, who devised a correspondence course for learning music-theory. He had an inspired period as a composer from 1927-8, when he composed nearly one hundred songs while he was in love with a pupil, Jane Vowles, who was having singing lessons with him. Recently, his songs have been published by the Bodnant Press. He wrote thirteen songs to Housman's poems in March and April, 1927. His other main poets were Shakespeare, De La Mare, Burns and Browning, as well as several contemporary poets. Benjamin Burrows was the teacher of Brian Daubney, one of the finalists in the composer's competition. Arnold Bax wrote more than 140 songs, most of them before the end of the Great War (1914-18) which are typified by their virtuosic piano parts, which may be one reason for their neglect! His affair with the pianist Harriet Cohen – who performed many of his pieces -– is well known. A pupil of Frederic Corder at the Royal Academy, Bax absorbed his highly chromatic harmony but forged his own unmistakable style. He had Irish connections, making Ireland his second home. His post-war songs have more accessible piano parts, which are found in his three settings of Housman. Bax is more well-known for his seven symphonies and his tone poems, particularly Tintagel. He succeeded Walford Davies as Master of the King's Music in 1941 after the letter's death. Ernest John Moeran was born in Isleworth, London, son of an Irish vicar and Norfolk mother, who soon moved to Norfolk, where he subsequently collected many folk songs. He studied with at the in London, whose chromatic harmony had a strong influence on his early work as did that of Delius. During the Great War (1914-18) he rode a motor-cycle as a dispatch rider and sustained a severe shrapnel wound to his head which probably brought about his premature death at Kenmare, Ireland, aged 55 years. A determined atheist, he was not above writing some music for the Church! When his close friend, (Philip Heseltine) died in 1930, Moeran spent more time in Ireland where he became friendly with Arnold Bax. He wrote about 60 songs – 12 of them settings of Housman – as well as a symphony, and concertos for violin and cello, the latter for his wife Piers Coetmore, who moved to Australia before he died. Arthur Somervell, a native of the Lake District, was born in Windermere, the youngest of the six children of the founder of 'K' shoes of Kendal. He studied under Charles Villiers Stanford at King's College, Cambridge, and then in the Berlin Hochschule für Musik, where he heard Brahms conduct the first performance of his third symphony. Returning to , he enrolled at the Royal College of Music in London with Sir as his teacher. He was now steeped in English literature, his favourite poets being Shakespeare, Tennyson and Browning, setting a number of their works to music. He earned his living as a school inspector, so his composing was done mainly in the school holidays. In addition to 150 songs, he also composed many choral works and a fine violin concerto. However, he has the prestige of being the first composer to set a cycle from Housman's A Shropshire Lad poems of 1896; this also happens to be the longest, comprising ten poems. His selection follows the course of a young man's life, starting with the innocence of the twenty-year-old in Loveliest of trees, and proceeding through darker shades of disappointment and war to the haunting nostalgia of Into my heart, where the piano reprises the melody of the first song, while the voice intones a high monotone. The cycle ends with the apparent good humour of The lads in their hundreds, though with the thought of death always present.

notes © Richard Carder 2006 The performers Stephen Foulkes sang for ten years as a lay-clerk with Cathedral and is currently bass vicar-choral with Choir. He is a regular soloist with choral societies around the United Kingdom and has made many broadcasts and recordings. His extensive repertoire includes works by Bach, Dvorak, Tavener and Finzi in venues as varied as Cologne, Amsterdam, New York and Nymberg (Czech Republic).His performances in the United Kingdom have included most of the great works in some of the leading cathedrals, works ranging from Handel's Messiah in Edinburgh to Monteverdi's Vespers in Truro. In 2005 he was guest soloist with the Silver Ring Choir of Bath on a tour of the Far East and New Zealand. In addition to his concert work, Stephen has sung as principal in opera, and has regularly appeared as judge and recitalist in song competitions for composers under the auspices of the English Poetry and Song Society. Outside music, his interests are mainly water-based – having been a police frogman in a previous occupation. Sailing remains his favourite relaxation. The waterside pubs are also a great attraction! He also enjoys horse-riding and has had a book published on the history of the Mounted Police in Bristol to mark its recent centenary. David Bednall is a student of Dr. Naji Hakim and David Briggs, and is currently Assistant Organist at Wells Cathedral. He has been at Wells since 2002 when he was appointed Sub Organist under Malcolm Archer. He was born in 1979 and studied in Sherborne and then at The Queen's College, Oxford where he was . In 2000 the Chapel Choir toured Paris under his direction, singing at Notre Dame and other venues, and released a live concert CD. In 2000 he was appointed Organ Scholar at Cathedral under David Briggs and Ian Ball. Whilst there he spent periods as Acting Director of Music and Acting Assistant Organist, was closely involved in the Three Choirs Festival, and was involved in two recordings – as Director on Lux Aeterna with the Cathedral Choir, and as accompanist on the critically-acclaimed Comfort and Joy with the St. Cecilia Singers. He was a prize-winner in Improvisation and Performance at the examination for Fellow of The Royal College of Organists in 2002, and has given recitals at L'Eglise de la Trinité, Paris, Westminster, St. Paul's, and many other cathedrals. Additional engagements have included recitals at Westminster , the Edinburgh Fringe Festival and various performances of Vierne’s Symphonies IV and V. He has performed all the major works of Olivier Messiaen as part of the Liturgical Year, including the cycles Méditations sur le mystère de la Saint Trinité and Livre du Saint Sacrament. His debut solo CD for Lammas of Hakin, Messiaen and Vierne at , and his CD of liturgical improvisations with Malcolm Archer, have both received excellent critical reviews. The latter genre is a particular interest of his and he has improvised in concert and on live radio broadcasts. Other activities have included performances of the music of James Macmillan in the Bath Festival with the Bath Festival Chorus conducted by the composer, acting as organist for the 2006 Exons Singers Festival, and performing in the inaugural Jean Langlais Festival in Brittany in the same year. He is Director of Cantilena choir, and is in demand as an accompanist. In this capacity he has appeared at the Edinburgh Fringe Festival accompanying Britten – Canticles II, III, and IV, made a number of recordings, radio and television broadcasts with Wells Cathedral Choir and Wells Cathedral Chamber Choir, and recorded a CD of the songs of Michael Head with the tenor Richard Rowntree for Lammas. He is increasingly active as a composer and the Choir of Wells Cathedral has recorded a CD of his choral music for Regent Records and broadcast a number of works on Radio 4. Recent work has included a critically-acclaimed commission for the Youth Choirs of Blackburn and Carlisle Cathedrals, a Gregorian Alternatim Mass for Douai Abbey and a work for All Saints' Church, Northampton premièred at the 2006 Jean Langlais Festival in Brittany. Note: the brief profiles here are those included on the original printing in 2006; up to date information on the artists is likely to be available online.

The piano The piano used, a Steinway Model D Concert Grand No. 262453 (1930), was chosen by Sergei Rachmaninov (1873-1943) from Steinway's in London for his British concerts. Eric Hodges, a Bristol concert pianist, purchased it in 1942. In 1977, his widow presented it to the University of Bath. It was agreed that the piano should be displayed and used at the Holburne Museum. The songs

Key to collections: ASL=A Shropshire Lad (1896) LP=Last Poems (1922) MP=More Poems (1936) AP=Additional Poems

[1] Grenadier (LPV) [2] The half-moon (LP XXVI)

The Queen she sent to look for me, The half-moon westers low, my love, The sergeant he did say, And the wind brings up the rain; 'Young man, a soldier will you be And wide apart lie we, my love, For thirteen pence a day?' And seas between the twain.

For thirteen pence a day did I I know not if it rains, my love, Take off the things I wore, In the land where you do lie; And I have marched to where I lie, And oh, so sound you sleep, my love, And I shall march no more. You know no more than I.

My mouth is dry, my shirt is wet, [3] The sigh (LP XXVII) My blood runs all away, So now I shall not die in debt The sigh that heaves the grasses For thirteen pence a day. Whence thou wilt never rise Is of the air that passes To-morrow after new young men And knows not if it sighs. The sergeant he must see, For things will be all over then The diamond tears adorning Between the Queen and me. Thy low mound on the lea, Those are the tears of morning, And I shall have to bate my price, That weeps, but not for thee. For in the grave, they say, Is neither knowledge nor device Nor thirteen pence a day. [4] From far (ASL XXXII) [6] In the morning (LP XXIII)

From far, from eve and morning In the morning, in the morning, And yon twelve-winded sky, In the happy field of hay, The stuff of life to knit me Oh they looked at one another Blew hither: here am I. By the light of day.

Now – for a breath I tarry In the blue and silver morning Nor yet disperse apart – On the haycock as they lay, Take my hand quick and tell me, Oh they looked at one another What have you in your heart. And they looked away. Speak now, and I will answer; How shall I help you, say; Ere to the wind's twelve quarters [7] WhenI wasone-and-twenty (ASL XIII) I take my endless way. When I was one-and-twenty [5] Far in western brookland (ASL III) I heard a wise man say, 'Give crowns and pounds and guineas Far in a western brookland But not your heart away; That bred me long ago Give pearls away and rubies The poplars stand and tremble But keep your fancy free. By pools I used to know. 'But I was one-and-twenty, No use to talk to me. There in the windless night-time, The wanderer, marvelling why. When I was one-and-twenty Halts on the bridge to hearken I heard him say again, How soft the poplars sigh. The heart out of the bosom He hears: long since forgotten, Was never given in vain; In fields where I was known, 'Tis paid with sighs a plenty Here I lie down in London And sold for endless rue. And turn to rest alone. 'And I am two-and-twenty, And oh, 'tis true, 'tis true. There, by the starlit fences The wanderer halts and hears My soul that lingers sighing About the glimmering weirs. [8] The land of lost content (ASL LIV & ASL XL)

With rue my heart is laden A Grecian lad, as I hear tell, For golden friends I had, One that many loved in vain. For many a rose-lipt maiden Looked into a forest well And many a lightfoot lad. And never looked away again. There, when the turf in springtime By brooks too broad for leaping With downward eye and gazes sad, The lightfoot lads are laid; Stands amid the glancing showers The rose-lipt girls are sleeping A jonquil, not a Grecian lad. In fields where roses fade.

Into my heart an air that kills [10] Because I liked you better (MP XXXI) From yon far country blows: What are those blue remembered hills, Because I liked you better What spires, what farms are those? Than suits a man to say, It irked you, and I promised That is the land of lost content, To throw the thought away. I see it shining plain, The happy highways where I went To put the world between us And cannot come again. We parted, stiff and dry; 'Good-bye', said you, 'forget me.' 'I will, no fear', said I. [9] Look not in my eyes (ASL XV) If here, where clover whitens Look not in my eyes, for fear The dead man's knoll, you pass, They mirror true the sight I see, And no tall flower to meet you And there you find your face too clear Starts in the trefoiled grass, And love it and be lost like me. One the long nights through must lie Halt by the headstone naming Spent in star-defeated sighs, The heart no longer stirred, But why should you as well as I And say the lad that loved you Perish? gaze not in my eyes. Was one that kept his word. [11] R. L S. (AP XXII) Ay, the ball is flying. Home is the sailor, home from sea: The lads play heart and soul; Her far-borne canvas furled The goal stands up, the keeper The ship pours shining on the quay Stands up to keep the goal. The plunder of the world. 'Is my girl happy, Home is the hunter from the hill: That I thought hard to leave, Fast in the boundless snare And has she tired of weeping All flesh lies taken at his will As she lies down at eve?' And every fowl of air. Ay she lies down lightly, 'Tis evening on the moorland free, She lies not down to weep: The starlit wave is still: Your girl is well contented. Home is the sailor from the sea, Be still, my lad, and sleep. The hunter from the hill. 'Is my friend hearty, Now I am thin and pine. [12] Is my team ploughing? (ASL XXVII) And has he found to sleep in A better bed than mine?' 'Is my team ploughing, That I was used to drive Yes, lad, I lie easy, And hear the harness jingle I lie as lads would choose; When I was man alive?' I cheer a dead man's sweetheart, Never ask me whose. Ay, the horses trample, The harness jingles now; No change though you lie under [13] When smoke stood up (ASL VII) The land you used to plough. When smoke stood up from Ludlow, 'Is football playing And mist blew off from Teme, Along the river shore, And blithe afield to ploughing With lads to chase the leather, Against the morning beam Now I stand up no more?' I strode beside my team, [14] When I came last to Ludlow (ASL LVIII) The blackbird in the coppice Looked out to see me stride, When I came last to Ludlow And hearkened as I whistled Amidst the moonlight pale, The trampling team beside, Two friends kept step beside me, And fluted and replied: Two honest lads and hale.

'Lie down, lie down, young yeoman; Now Dick lies long in the churchyard, What use to rise and rise? And Ned lies long in jail, Rise man a thousand mornings And I come home to Ludlow Yet down at last he lies, Amidst the moonlight pale. And then the man is wise.'

I heard the tune he sang me, [15] Far in a western brookland (ASL LII) And spied his yellow bill; I picked a stone and aimed it Far in a western brookland And threw it with a will: That bred me long ago Then the bird was still. The poplars stand and tremble By pools I used to know. Then my soul within me Took up the blackbird's strain, There in the windless night-time, And still beside the horses The wanderer, marvelling why, Along the dewy lane Halts on the bridge to hearken It sang the song again: How soft the poplars sigh.

'Lie down, lie down, young yeoman; He hears: no more remembered The sun moves always west; In fields where I was known, The road one treads to labour Here I lie down in London Will lead one home to rest, And turn to rest alone. And that will be the best.' There, by the starlit fences The wanderer halts and hears My soul that lingers sighing About the glimmering weirs. A Shropshire Lad ()

[17] When I was one-and-twenty (ASL XIII)

[16] Loveliest of trees (ASL II) When I was one-and-twenty I heard a wise man say, Loveliest of trees, the cherry now 'Give crowns and pounds and guineas Is hung with bloom along the bough, But not your heart away; And stands about the woodland ride Give pearls away and rubies Wearing white for Eastertide. But keep your fancy free.' But I was one-and-twenty, Now, of my threescore years and ten, No use to talk to me. Twenty will not come again, And take from seventy springs a score, When I was one-and-twenty It only leaves me fifty more. I heard him say again, 'The heart out of the bosom And since to look at things in bloom Was never given in vain; Fifty springs are little room. 'Tis paid with sighs a plenty About the woodlands I will go And sold for endless rue.' To see the cherry hung with snow. And I am two-and-twenty, And oh, 'tis true, 'tis true.

[18] There pass the careless people (ASLXIV) verses 1 & 3 only

There pass the careless people That call their souls their own: Here by the road I loiter, How idle and alone.

His folly has not fellow Beneath the blue of day That gives to man or woman His heart and soul away. [19] Bredon Hill (ASLXXI) They tolled the one bell only, In summertime on Bredon Groom there was none to see, The bells they sound so clear; The mourners followed after, Round both the shires they ring them And so to church went she, In steeples far and near, And would not wait for me. A happy noise to hear. The bells they sound on Bredon, Here of a Sunday morning And still the steeples hum. My love and I would lie, 'Come all to church, good people' – And see the coloured counties, Oh noisy bells, be dumb; And hear the larks so high I hear you, I will come. About us in the sky.

The bells would ring to call her [20] The street sounds to the In valleys miles away: soldiers' tread (ASL XXII) 'Come all to church, good people; Good people, come and pray.' The street sounds to the soldiers' tread, But here my love would stay. And out we troop to see: A single redcoat turns his head, And I would turn and answer He turns and looks at me. Among the springing thyme, 'Oh, peal upon our wedding, My man, from sky to sky's so far, And we will hear the chime, We never crossed before; And come to church in time.' Such leagues apart the world's ends are, We're like to meet no more; But when the snows at Christmas On Bredon top were strown, What thoughts at heart have you and I My love rose up so early We cannot stop to tell; And stole out unbeknown But dead or living, drunk or dry, And went to church alone. Soldier, I wish you well. [21] On the idle hill of summer (ASLXXXV) Still hangs the hedge without a gust, On the idle hill of summer, Still, still the shadows stay: Sleepy with the flow of streams, My feet upon the moonlit dust Far I hear the steady drummer Pursue the ceaseless way. Drumming like a noise of dreams. The world is round, so travellers tell, Far and near and low and louder And straight though reach the track, On the roads of earth go by, Trudge on, trudge on, 'twill all be well, Dear to friends and food for powder, The way will guide one back. Soldiers marching, all to die. But ere the circle homeward hies East and west on fields forgotten Far, far must it remove: Bleach the bones of comrades slain, White in the moon the long road lies Lovely lads and dead and rotten; That leads me from my love. None that go return again. \ Far the calling bugles hollo, [23] Think no more, lad (ASL XLIX) High the screaming fife replies, Gay the files of scarlet follow: Think no more, lad; laugh, be jolly: Woman bore me, I will rise. Why should men make haste to die? Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky

[22] White in the moon the long road lies Oh, 'tis jesting, dancing, drinking (ASL XXXVI) Spins the heavy world around. If young hearts were not so clever, White in the moon the long road lies, Oh, they would be young forever: The moon stands blank above; Think no more; 'tis only thinking White in the moon the long road lies Lays lads underground. That leads me from my love. [24] Into my heart an air that kills (ASL XL)

Into my heart an air that kills From yon far country blows: What are those blue remembered hills, What spires, what farms are those?

That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again.

[25] The lads in their hundreds (ASL XXIII) The lads in their hundreds to Ludlow come in for the fair, There's men from the barn and the forge and the mill and the fold, The lads for the girls and the lads for the liquor are there, And there with the rest are the lads that will never be old.

There's chaps from the town and the field and the till and the cart, And many to count are the stalwart, and many the brave, And many the handsome of face and handsome of heart, And few that will carry their looks or their truth to the grave.

I wish one could know them, I wish there were tokens to tell The fortunate fellows that now you can never discern; And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return.

But now you may stare as you like and there's nothing to scan; And brushing your elbow unguessed-at and not to be told They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old. The English Poetry & Song Society was founded in 1983 in Melksham, Wiltshire, by the poet and amateur violinist, Alfred Warren, after attending a lecture-recital on English by the baritone John Carol Case, who became the first president of the EPSS until he decided to retire from post in 2000. Although he was too far away (in North Yorkshire) to become involved in our activities, he sent generous donations every year, which continued after his retirement. We were honoured by a visit from , the composer’s wife, who came to our concert in Bath that year. When Alfred moved to Cornwall in 1984, the chairmanship was taken over by the organist and composer David Crocker, also resident in Melksham. At the end of that year, he too moved westward to live in Devon, when the singer, Simon Willink took over briefly, before also moving Devon. Richard Carder became Chair in March 1985, soon after starting his research into the unpublished songs of , performances of which soon featured in the concerts, such as the premiére of his cycle of Seven Songs in that year, attended by his biographer, .

In 1987, the 50th anniversary of Gurney’s death led to a concert in the Pump Room, Bath, with Stephen Roberts and Graham Johnson performing songs on a noctunal theme. Then in 1988, Gurney’s settings of his friend Will Harvey’s poems were heard, with readings from his biographer, Antony Boden. In 1992 the competitions for composers were launched for the bicentenary of poet John Clare; these have proved popular, and have involved poets such as Keats, Shelley, Coleridge; and more modern poets A.E. Housman, , , , Blunden and Sassoon. There were also readings by poets, Kathleen Raine, and Rose Flint.

In 2000, it was decided to appoint both a male and a female president in future, and the choice fell upon Meriel Dickinson, who suggested that a term of 5 years should be implemented for the post, and attended several of our concerts in Bath. The male choice was Ian Partridge, who sang 4 songs by Ivor Gurney at our London concert in 2003, which was recorded on the Dunelm CD, Lights Out.

They were succeeded in 2006 by Jane Manning and Stephen Roberts, who came to Bristol in November 2008 to give a master class for young singers, followed by a concert the same evening. This was followed up by the recording of a CD of songs by ten EPSS composers, English Journey Songs (Mynstrallsy- EPS102).

Our two current presidents, Sarah Leonard and Stephen Varcoe, took over in 2011, and came to Bristol in October 2012 to give a concert for the Queen’s Diamond Jubilee in the Colston Hall, which included songs by most of the previous Masters of the Royal Music, plus folksong settings by Moeran & Britten, and popular songs from the Queen’s reign, by , Noel Coward, and Flanders & Swann. In addition we decided to appoint a composer, and chose Raymond Warren, who has acted as a judge in many of our competitions. http://www.richardcarder.co.uk/EPSS.html [email protected] English Poetry and Song Society Live Concert Recordings from the Diversions Dunelm series

DDV 24163 SONGS OF DORSET by Finzi, Vaughan Williams, Carey, Somervell and EP&SS Competition Finalists. Settings of poems by William Barnes and Thomas Hardy

Stephen Foulkes (baritone) Colin Hunt (piano)

DDV 24164 THE GREAT WAR Remembered in songs by Ivor Gurney, John Ireland, Geraint Lewis and EP&SS Competition finalists

Jeremy Huw Williams (baritone) Nigel Foster (piano)

DDV 24165 LIGHTS OUT songs by Ivor Gurney, E.J. Moeran, Sulyen Caradon and EP&SS Competition finalists

Georgina Colwell (soprano); Clare Griffel (mezzo-soprano) Ian Partridge (tenor); Paul Martyn-West (tenor) Jonathan Wood (baritone) Peter Jacobs and Nigel Foster (piano) Recorded live at a concert given at the Art Gallery of the Holburne Museum, Bath, England on June 2, 2006 Recording engineer and producer: Jim Pattison : Recording assistant: Joyce Pattison Remastering: Stephen Sutton Front cover photo: Carding Mill Valley and the Hills of the Long Mynd, Shropshire : Photography: Jim Pattison CD photo: The 14th century bridge over the River Clun Programme notes: Richard Carder All texts, images and graphic devices are copyright and used with permission - All rights reserved Music copyrights: track 5: Enoch & Sons (1927) Ltd; track 13: Oxford University Press; track 15: Hawkes & Son (London) Ltd tracks 1-4, 6-12, 14: Copyright Control; tracks 16-25: Public Domain Originally released in May 2007 as Dunelm DRD 0262 ℗2007 Dunelm Records © 2017 Divine Art Ltd. (Diversions LLC in USA/Canada) ⌻

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